•  576
    How to Frame Serial Art
    Journal of Aesthetics and Art Criticism 71 (3): 261-265. 2013.
    Most artworks—or at least most among those standardly subject to philosophical scrutiny—appear to be singular, stand-alone works. However, some artworks (indeed, perhaps a good many) are by contrast best viewed in terms of some larger grouping or ordering of artworks. i.e., as a series. The operative art-theoretic notion of series in which I am interested here is that of an individual and distinct artwork that is itself non-trivially composed of a non-trivial sequence of artworks (e.g., Walter d…Read more
  •  701
    The Paradox of Suspense Realism
    Journal of Aesthetics and Art Criticism 69 (2): 161-171. 2011.
    Most theories of suspense implicitly or explicitly have as a background assumption what I call suspense realism, i.e., that suspense is itself a genuine, distinct emotion. I claim that for a theory of suspense to entail suspense realism is for that theory to entail a contradiction, and so, we ought instead assume a background of suspense eliminativism, i.e., that there is no such genuine, distinct emotion that is the emotion of suspense. More precisely, I argue that i) any suspense realist (...)…Read more
  •  424
    Judging Covers
    with Cristyn Magnus and P. D. Magnus
    Journal of Aesthetics and Art Criticism 71 (4): 361-370. 2013.
    Cover versions form a loose but identifiable category of tracks and performances. We distinguish four kinds of covers and argue that they mark important differences in the modes of evaluation that are possible or appropriate for each: mimic covers, which aim merely to echo the canonical track; rendition covers, which change the sound of the canonical track; transformative covers, which diverge so much as to instantiate a distinct, albeit derivative song; and referential covers, which not only in…Read more
  •  300
    Introduction to Special Issue on Printmaking
    Journal of Aesthetics and Art Criticism 73 (1): 1-8. 2015.